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In the 1960s Decca pioneered the use of a multi 10-channel console mixer which created recordings with an unprecedented sense of spatial realism and movement - Phase 4 Stereo. Following in the footsteps of Decca's highly-successful label heritage sets (The Decca Sound, Mercury Living Presence), this generous selection of the very best of Phase 4 promises to amaze a new generation of fans.

Two of the titles included in the set are on the TAS List - the Holy Grail of vinyl fidelity. This is a list of recordings recommended by The Absolute Sound magazine under the direction of Harry Pearson.

LP 4 - Rósza: Music from Ben Hur1. Fanfare To Prelude2. Star Of Bethlehem And Adoration Of The Magic3. Friendship4. The Burning Desert5. Arrius's Party6. Rowing Of The Galley Slaves7. Parade Of The Charioteers8. The Mother's Love9. Return To Judea10. Ring For Freedom11. Lepers' Search For The Christ12. Procession To Calvary13. Miracle And Finale

LP 5 - Rimsky-Korsakov: Scheherazade1. The Sea and Sinbad's Ship2. The Story of the Calender Prince3. The Young Prince and the Young Princess4. Festival at Bagdad - The Sea - The Shipwreck against a rock surmounted by a bronze warrior (The Shipwreck)

LP 6 - Yellow River Concerto; Mozart: Piano Concerto No. 211. Prelude: The Song Of The Yellow River Boatmen2. Ode To The Yellow River3. The Yellow River In Wrath4. Defend The Yellow River5. Allegro6. Andante7. Allegro vivace assai

Rimsky-Korsakov: Scheherazade

RCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!

Remastered And Cut At 33 1/3 RPM By Ryan Smith At Sterling Sound

Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!

Grade A+. Another one of HP's favorites, this LP (at least in its earliest pressings) is famously wonderful sounding, and the Analogue Productions version certainly lives up to the hype. Once again string tone - and this disc is celebrated for its string tone - is ravishingly beautiful. The bass is astonishingly deep and authoritative. And the dynamics are tremendous. In sum, I highly recommend all of these celebrated RCAs in their Analogue Productions reissues. They will cost you $30 a disc, which is a more-than-fair price considering that they are, IMO, uniformly superb (yes, better than the Classic Record versions). - Jonathan Valin, The Absolute Sound.com, June 11, 2013

We compared this new 200-gram, 33 RPM LP from Analogue Productions with the original RCA Living Stereo issue and Classic Records' 33 RPM version, and were surprised at the outcome. Why? Because to these ears, the new Analogue Productions version was the more relaxed and natural sounding of the bunch. The sound is as it should be, inviting the listener into the music and entirely constant with Reiner's readings. ... If ever there were a must-have LP in the recent wave of audiophile vinyl reincarnations, this is it. Treat yourself and thank (Analogue Productions' Chad) Kassem for doing it the justice it deserves. - Harry Pearson, HP Soundings, May 2013.

Without a doubt, the AP pressing sounds much more natural than the Classic Records reissue; the sound is simply less forced, as if the notes and rhythms have more air to explore, more ambient Hall to reverberate, and more of the acoustic envelope to reveal. ... the vinyl is so damn quiet, you can turn it up without any hesitation ... The solo violin is the heart of this recording and it's supposed to sound seductive, and on this reissue, it does. One thing if for certain, there is a lot more information coming through than on the original. The AP pressing takes the simplistic approach of the Chesky, but with a more developed sound, making the Chesky appear a bit more subdued by comparison. ... If you are interested in hearing this classic RCA in all of its natural glory, you needn't look any further than Chad Kassem's latest offering. If this is any indication of Analogue Production's current batch of RCA reissues (approximately 24 more on the way), it just may be a new golden age for the modern vinyl listener. - Joey Weiss, HP Soundings, May 2013

The second movement is just ravishing in the beauty of the Chicago's playing and Reiner's romantic approach; there is some staccato triple-tonguing done by trumpeter Adolph Herseth in the fourth movement that should leave you, if not him, breathless. But let is just be said that, after you hear this, no other Scheherazade will ever replace it in your affections. HP's The Golden Dozen LPs - Harry Pearson, The Absolute Sound, June/July 2007

The jewel in the Living Stereo crown. This, like the Respighi, is considered one of the very best LPs by Reiner, the Chicago Symphony Orchestra and RCA's crew. Another Mohr and Layton classic.

This title is not eligible for discount.

1. The Sea And Sinbads Ship2. The Story Of The Kalender Prince3. The Young Prince And The Young Princess4. Festival In Bagdad; The Sea; The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior

Respighi: Pines of Rome & Fountains of Rome

RCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!

Remastered And Cut At 33 1/3 RPM By Ryan Smith At Sterling Sound

Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!

Grade A. The exceedingly rare 1s/1s pressing of this disc has been celebrated and sought after ever since Carol B. Kessler wrote her famous article in TAS on the best RCAs (she ranked the 1s/1s Pines the #3 RCA of all-time). If you don't have a 1s/1s pressing, you will doubtlessly find this remastering sensational. Since I do have a 1s/1s, I'd have to say that there are aspects of the 1s/1s that are marginally superior to the Analogue Productions reissue - and vice versa. Though beautiful, string tone doesn't seem quite as silken on the Kassem reissue as it does on the RCA original; on the other hand, the staggeringly powerful bass on The Pines of the Appian Way (replete with gong and organ) retains all of its thunder and then some on the Analogue Productions re-pressing with, once again, a fair measure of tape-like ease and authority. (As with The Reiner Sound, the base is a little murky in spots, probably the results of mic preamp overload. In any event that occasional murkiness is also present on the 1s/1s and the Classic reissue.) - Jonathan Valin, The Absolute Sound.com, June 11, 2013

A highly sought-after RCA shaded dog Living Stereo title, the performance and sonics found within rate a 10/10. A must have - the dynamics are monstrous! Whichever other Respighi tone poem recordings you ultimately purchase, you MUST own this one. Since the early '60s it has been the standard by which all others have been judged, and in terms of both sound and performance, it has never really been surpassed. The final march of Pines is simply incredible: Thundering bass drum, crashing cymbals and gongs, bellowing brass - nobody since has brought the whole thing off with the same combination of excitement and discipline.

This title is not eligible for discount.

1. The Pines of the Villa Borghese2. Pines Near a Catacomb3. The Pines of the Janiculum4. The Pines of the Appian Way5. The Fountain of the Valle Giulia at Dawn6. The Triton Fountain at Morning7. The Fountain of Trevi at Midday8. The Villa Medici Fountain at Sunset

Moussorgsky/Ravel: Pictures At An Exhibition

RCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!

Remastered And Cut At 33 1/3 RPM By Ryan Smith At Sterling Sound

Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!

Grade: A+. Once again, as good as I've heard this record sound. Gorgeous strings, superb bass, avalanche dynamics with that same tape-like ease, sensational inner detail. The authority of the CSO is really something on fortissimo tuttis, of which there are many in Pictures. - Jonathan Valin, The Absolute Sound.com, June 11, 2013

Another sonic and musical blockbuster from the unbeatable combo of Reiner and RCA (and Mohr & Layton). Recorded in 1957 at Chicago's Orchestra Hall; the original analog session tapes were used in mastering for LPs and SACDS. Mussorgsky's inspiration for Pictures was the death of his dear friend, the architect and visual artist Victor Hartman. Having died at age 39, Hartman had not yet had the opportunity to realize any of his architectural visions, and Mussorgsky was angered that his friend would have no legacy. The Architects' Society arranged an exhibition of some of Hartman's sketches - some of architecture, others of characters or scenes from everyday life. The tribute was enough to give Mussorgsky ideas for his composition, but not enough to give Hartman any lasting place in history. Today, of all of the sketches that were captured in music, only six can be positively identified.

The piece is known today primarily through the orchestral version created by Maurice Ravel in 1922. In fact, the work had already been orchestrated multiple times, by a variety of lesser names. Some conductors today find that Ravel's version, in spite of its color, sacrifices some of the coarse nature inherent in Mussorgsky's piano original. Furthermore, Ravel worked from Rimsky-Korsakov's edited version of the piano part - the only one available at the time - which changed some notes and rhythms.

None of the orchestrations, however, change the fundamental spirit of the piece. Mussorgsky imagines himself making his way down the hallway that showcased his late friend's work, with his stately procession represented by the Promenade that opens the piece and returns several times. Upon stopping at each image, he reflects on what he sees. Between the early movements, the promenade returns regularly, as Mussorgsky is conscious of moving from one scene to the next. As the work progresses, however, he becomes less aware of the interval between pictures, and more immersed in the continuous psychological experience of moving from one state of mind to the next. By the end, the composer sees himself transformed by the connection with Hartman through his visual expressions of Russian pride and humanity.

This title is not eligible for discount.

1. Promenade2. Gnomus3. Il Vecchio Castella4. Premenade5. Tuileries6. Bydlo7. Promenade8. Ballet Of The Chicks In Their Shells9. Samuel Goldenburg and Schmuyle10. The Market Place At Limoges11. Catacombae, Sepulchrum Romanum12. Con Mortuis In Lingue Mortua13. The Hut On Fowl's Legs14. The Great Gate Of Kiev

Witches Brew

Renowned woofer Wower Remastered By Willem Makkee From The Original Tapes

Plated And Pressed By Quality Record Pressings / Tip-on Jacket By Stoughton Printing

This famous Alexander Gibson/New Symphony Orchestra of London collection from 1958 debuted at the dawn of the RCA Living Stereo era. It became one of the most sought-after Living Stereos with music by Arnold, Liszt and Mussorgsky amongst others, all with a spooky, witchy theme. The performances remain today as characterful and incisive as they were then.

We've taken this classic and given it the full Analogue Productions reissue treatment, featuring a remaster by Germany's Willem Makkee from the original analog tapes, and plating and 200-gram pressing by Quality Record Pressings. Topping it off is a thick cardboard Stoughton Printing tip-on jacket.

If such music didn't cast the right sort of spell, so many listeners wouldn't be returning to it on so many occasions, somehow feeling constantly refreshed.

The Reiner Sound

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound

Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!

Grade: A+. As good as this record has ever sounded. Liquidly beautiful string and wind tone, very deep and powerful bass (although the orchestra occasionally overloads the mics or mic preamps, as it does on the original RCA pressings), sensational dynamics on both the Ravel Rapsodie and the Rachmaninoff Isle of the Dead (with some of the lifelike ease you usually only hear on reel-to-reel tape), and astonishing preservation of inner detail (some of which I haven't heard before this clearly on vinyl or digital). - Jonathan Valin, The Absolute Sound.com, June 11, 2013

Yet another giant of the Living Stereo series. The Isle Of The Dead is a truly awesome orchestral spectacular with dynamic peaks that will stun most listeners. Also included is the equally stirring version of Rhapsodie Espagnole.

Festival

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound

Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!

The legendary 1954 Fritz Reiner/Chicago Symphony Orchestra performance of a Strauss war horse. Recorded directly to 2-track analog by Jack Pfeiffer, the original session tapes were used in mastering for LPs and SACDS.

Rozsa: Violin Concerto

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound

Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!

Another fine Pfeiffer / Chase / Heiftez collaboration. Throw in Hendl conducting the Detroit Symphony on the Rozsa Violin Concerto and Izler conducting the RCAVVO on Benjamin's Romantic Fantasy and you've got a winner. This is an original 3-track recording and that is what this LP reissue was mastered from. The result? Not to be missed!

Rhapsodies

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound

Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!

Maestro Stokowski is at the podium and Bob Simpson is at the 3-track Ampex recorder to capture the Rhapsodies from Liszt, Enesco and Smetana that give this issue its title. This is titanic sound that will sink most speakers and amps for that matter. A must. The original 3-track session tapes were used in mastering for LPs and SACDS.

Holland

Bonus Track We Got Love Restored; Left Off Of Original U.S. Pressings!

Audio Production - Mark Linett

For Brother Records - Elliott Lott

Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available

Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings!

A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!

The Beach Boy's Holland, the group's 19th studio album, was recorded in Baambrugge, Netherlands in the summer of 1972 and released in January 1973. Our Analogue Productions reissue also includes a bonus 12-inch EP: Mount Vernon and Fairway (A Fairy Tale). Plus the restoration of We Got Love, eliminated from original U.S. copies of the album!

By mid-1972, with Wilson's focus waning from the Beach Boys to other creative outlets, and his personal and health-related issues mounting, Wilson was producing less music for the band than ever before. They decamped for the Netherlands hoping to jump-start Brian's creative energies.

Wilson contributed little to the album, concentrating his musical efforts on Mount Vernon and Fairway, a 10-minute long musical fairy tale eventually included with the album as a bonus EP.

The title of the bonus EP was named after the intersection where the Love family lived in Los Angeles, and where the Wilsons and Loves would gather for family celebrations back in the 1940s and '50s when Brian, Mike, Carl and Dennis were all growing up. As a concept for a Beach Boys track, Mount Vernon and Fairway initially received a less than enthusiastic response from the other band members when Brian first presented the idea to the group, and this only fueled Brian's steadily worsening depression. Eventually, Carl stepped in to produce the recording for Brian, and the decision was made to include the fairy tale in the album package as a separate EP. Brian himself designed the EP's picture sleeve.

Although Mount Vernon and Fairway (A Fairy Tale) was narrated by Jack Rieley, the voice of the Pied Piper was supplied by Brian in a slightly grainier-sounding cartoon voice.

The instrumental tracks for Mount Vernon and Fairway (A Fairy Tale) were later released on Good Vibrations: Thirty years of The Beach Boys as Fairy Tale Music.

Upon the band's return from the Netherlands in the fall, Holland was rejected by Reprise Records for not having a potential hit single. Added to the track list was an unfinished Brian Wilson song Sail On, Sailor, that he'd originally co-written with Ray Kennedy, and finally completed with the help of Van Dyke Parks, Jack Reiley and Tandyn Almer. It would ultimately become Holland's most famous track. A casualty of the album's tracklist reshuffling was another Fataar/Chaplin tune, written with Mike Love, called We Got Love. A live version was included on the group's 1973 release The Beach Boys In Concert.

Early test pressings of Holland, made in the U.S. and U.K. featured We Got Love, as did a few hundred copies pressed and sold in Germany. Early French and Canadian pressings of Holland mention We Got Love on the jacket, but the song is not on those albums. For this Holland reissue Acoustic Sounds/Analogue Productions has brought back We Got Love as a bonus track!

An American In Paris & Rhapsody In Blue

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound

Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!

With Rhapsody in Blue, George Gershwin, a popular songwriter, established himself as a serious composer. His American in Paris tells the story of a trip through the streets and cafes of France. A first rate orchestra (The Boston Pops), a distinguished conductor (Arthur Fiedler), and a superb pianist (Earl Wild) combine to make this recording something to be treasured.

This title is not eligible for discount.

Selections:GershwinRhapsody In blueAn American In Paris

Arthur Fiedler

$34.99

200 Gram Audiophile Virgin Vinyl LP - SealedHurry, only 1 left! Usually ships within one business day!Buy Now

Tchaikovsky: Violin Concerto

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound

Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!

Hailed as one of the greatest - perhaps the greatest violinists of this century - Jascha Heifetz delivers what is considered an unequaled performance of Tchaikovsky's beloved concerto. Conductor Fritz Reiner and the Chicago Symphony Orchestra, in top form, provide the perfect context for Maestro Heifetz's dazzling performance. The original 3-track session tapes were used in mastering for this LP.

This title is not eligible for discount.

1. Special one-sided Pressing of Heifetz2. first movement part 1 - Side 1 of 3

Fritz Reiner with the Chicago Symphony Orchestra

$34.99

200 Gram Audiophile Virgin Vinyl LP - SealedHurry, only 1 left! Usually ships within one business day!Buy Now

Moussorgsky/Ravel: Pictures At An Exhibition (45 RPM)

RCA Living Stereo Classical LPs - The Gold Standard For Top Quality Orchestral Performance And Sound!

Remastered From The Original Master Tape - Now Available Cut At 45 RPM! By Ryan Smith At Sterling Sound

Lacquers Plated By Gary Salstrom And Pressed On 200-Gram Vinyl At Quality Record Pressings!

Another sonic and musical blockbuster from the unbeatable combo of Reiner and RCA (and Mohr & Layton). Recorded in 1957 at Chicago's Orchestra Hall; the original analog session tapes were used in mastering for LPs and SACDS. Mussorgsky's inspiration for Pictures was the death of his dear friend, the architect and visual artist Victor Hartman. Having died at age 39, Hartman had not yet had the opportunity to realize any of his architectural visions, and Mussorgsky was angered that his friend would have no legacy. The Architects' Society arranged an exhibition of some of Hartman's sketches - some of architecture, others of characters or scenes from everyday life. The tribute was enough to give Mussorgsky ideas for his composition, but not enough to give Hartman any lasting place in history. Today, of all of the sketches that were captured in music, only six can be positively identified.

The piece is known today primarily through the orchestral version created by Maurice Ravel in 1922. In fact, the work had already been orchestrated multiple times, by a variety of lesser names. Some conductors today find that Ravel's version, in spite of its color, sacrifices some of the coarse nature inherent in Mussorgsky's piano original. Furthermore, Ravel worked from Rimsky-Korsakov's edited version of the piano part - the only one available at the time - which changed some notes and rhythms.

None of the orchestrations, however, change the fundamental spirit of the piece. Mussorgsky imagines himself making his way down the hallway that showcased his late friend's work, with his stately procession represented by the Promenade that opens the piece and returns several times. Upon stopping at each image, he reflects on what he sees. Between the early movements, the promenade returns regularly, as Mussorgsky is conscious of moving from one scene to the next. As the work progresses, however, he becomes less aware of the interval between pictures, and more immersed in the continuous psychological experience of moving from one state of mind to the next. By the end, the composer sees himself transformed by the connection with Hartman through his visual expressions of Russian pride and humanity.

Brahms: Violin Concerto

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound

Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!

Another of the rare performances of violinist Jascha Heifetz and conductor Fritz Reiner together with the Chicago Symphony Orchestra. The original 30 ips 2-track analog tape was used in mastering for LPs and SACDs. This stunning performance is nothing short of breathtaking.

R. Strauss: Also Sprach Zarathustra

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound

Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!

The legendary 1954 Fritz Reiner/Chicago Symphony Orchestra performance of a Strauss war horse. Recorded directly to 2-track analog by Jack Pfeiffer, the original session tapes were used in mastering for LPs and SACDS.

Leonard Cohen: Live Songs

Meticulously Remastered

Sourced From The Original Columbia Records Stereo Masters In Order To Preserve The Sound Of The Original Albums

Leonard Cohen's intimate, emotion-charged live performances yielded the 1973 release Live Songs, which mixes a handful of previously recorded favorites with several new songs, including Passing Thru, Tonight Will Be Fine and the harrowing, rarely-performed 13-minute epic Please Don't Pass Me By (A Disgrace).

By the time Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the eras most original and influential singer-songwriters, building a large and legendary body of work that continues to inspire artists and listeners alike.

Much of Cohen's reputation and mystique was established by his early work for Columbia Records, particularly the five albums he recorded between 1967 and 1974. Now, these five classic albums, unavailable on vinyl for two decades, have been lovingly restored to their original LP format.

For their new Sundazed editions, all five albums have been meticulously remastered and have been sourced from the original Columbia Records stereo masters in order to preserve the sound of the original albums. In keeping with the exacting standards for which Sundazed has become known, each album will be pressed on high-definition vinyl, with complete original cover art.

Today!

Stereo Edition Of Today!, Released On Vinyl For The First Time!

Today! Stereo Mix Created Between 2005 And 2012 Using The First Generation Basic Tracking Session Multitracks, Synced With The Overdubs That Were Later Added On Second And Third Generation Masters, To Create The First True Stereo Mixes!

Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available

Lacquer Plating By Gary Salstrom And 200-Gram Vinyl Pressing By Quality Record Pressings!

A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!

Today! was released in stereo for the first time in 2012. These stereo mixes were created between 2005 and 2012 using the first generation basic tracking session multitracks, synced with the overdubs that were later added on second and third generation masters, to create the first true stereo mixes!

Apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master.

The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision.

Brian may or may not have been present for those mixing sessions - evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own - but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market, says Alan Boyd, producer and Beach Boys' archivist.

All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys.

Put simply, this is the Beach Boys at their mid-'60s prime. Ironically, the band's greatest evolutionary leap was spurred by its leader, Brian Wilson, who decided to drop out of the band's live performances after a December 1964 nervous breakdown to concentrate on honing the Beach Boys' studio sound. With Wilson's productions gaining a significant new depth and confidence (note the innovative modulations on 'Dance, Dance, Dance'), the first half of Today seems a logical, upbeat step forward from its predecessors. But it's the album's second act that steals the show, setting the stage for the triumph of Pet Sounds. Indeed, it's easy to imagine gorgeous, introspective tracks such as 'Please Let Me Wonder,' 'She Knows Me Too Well,' and 'In the Back of My Mind' intertwined with the best of Sounds. - Amazon.com

Surf's Up

Mastered By Kevin Gray At Cohearent Audio, Most From The Original Master Tapes Or Best Sources Available

Lacquer Plating By Gary Salstrom And 200-gram Vinyl Pressing By Quality Record Pressings!

A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in old school Stoughton tip-on jackets, these time honored favorites shine brighter than the originals!

Worth noting on Surf's Up is Stephen Desper's engineering work - the entire album was mixed to a center channel quad matrix that he was developing at the time.

Surf's Up hit the Top 30 on its first release, reaching No. 29 on the Billboard LP charts - the highest chart placement the group had had since 1967. At the time of its release, Surf's Up was hailed by many as a comeback for The Beach Boys, who were beginning to attract raves for their live performances, including highly acclaimed sets at New York's legendary Carnegie Hall.

Carl Wilson makes solid contributions on Surf's Up with Long Promised Road and Feel Flows, and the album also features stellar tracks by Al Jardine and Mike Love, as well as Bruce Johnston's most enduring composition, the gently nostalgic Disney Girls (1957), but the album's twin jewels are both from Brian Wilson - Til I Die and the title track - one of the centerpieces of the then-unreleased Smile (cowritten by lyricist Van Dyke Parks and here given that album's Child Is Father to the Man as a glorious coda.)

Surf's Up track A Day in the Life of a Tree is the first in a series of Brian's songs that close the album. It's simultaneously one of Brian Wilson's most deeply touching and unusual compositions; he is the narrator and object of the song (though not the vocalist; co-writer Jack Rieley lends a hand), lamenting his long life amid the pollution and grime of a city park while the somber tones of a pipe organ build atmosphere. Til I Die, isn't the love song the title suggests; it's a haunting, fatalistic piece of pop surrealism that appeared to signal Brian's retirement from active life.

This title is not eligible for discount.

1. Don't Go Near The Water2. Long Promised Road3. Take A Load Off Your Feet4. Disney Girls5. Student Demonstration Time6. Feel Flows7. Lookin' At Tomorrow (A Welfare Song)8. A Day In The Life Of A Tree9. 'Til I Die10. Surf's Up

Living On The Other Side

The Donkeys are more than simply four California beach bums who love to surf, drink beer, and jam as the sun sets over the Pacific. If their back story contains those top-down cars and suntanned utopian surf tableaus, it also contains the malaise and the escape fantasies familiar to all suburban kids of the 80s and 90s. Miraculously, the music manages to communicate both moods at once. Any expression of existential ennui - is this all there is? - is soothed by an unrushed guitar lick and a harmonized twang that becomes almost meditative. This record is about rolling down the windows, cranking up the stereo, and hitting the open road.

Death By Stereo

The dynamic Chicago-based sextet Umphreys McGee, already regarded as one of todays most progressive and innovative live acts, are set to unleash Death By Stereo, an album that cements their status as one of rocks most audacious forces in the studio.

Stereo '57: Essential Elvis Vol. 2

Double LP set cut at 45 RPM and pressed on 200-gram vinyl at Quality Record Pressings!

Mastered at Sterling Sound

Gatefold jacket

The discovery of these 2-track masters comprising Stereo '57 - The Essential Elvis Volume 2, is nothing short of a miracle, and this 200-gram pressing cut at 45 RPM from Quality Record Pressings sounds so astonishing, your jaw will hit the floor!

From the moment Elvis began working with a new song, sound engineer Thorne Norgar had the 15 ips mono tape machine rolling simultaneously with a 2-track protection copy. The machines weren't switched to pause until Elvis was satisfied with the take.

A couple of years before the advent of the stereo LP in mid-1958, major record companies were experimenting with stereophonic recordings, often refered to then as binaural. Studios were using the new Ampex 2-track tape recorders for other purposes, such as for recording session back-ups. But few Elvis fans know how close history came to permanently losing these precious audio glimpses of a young Elvis engrossed in the creative process.

Founded in 1933, Radio Recorders of Los Angeles was the preeminent recording studio of its day, and its director of recording, long-time engineer Thorne Nogar, engineered all of the Elvis sessions from 1955 to 1961. Some of popular music's greatest hits: Jailhouse Rock, All Shook Up, Loving You, and Teddy Bear, are just a few of the blockbusters that Nogar oversaw Elvis record at the studios, located at 7000 Santa Monica Blvd.

Elvis would be right in the center of everything, at every recording session, Nogar would later recall. Like with the Jordanaires when he sang, we would set it up with a unidirectional mike, so he would be standing right in front of them, facing them, and they would have their own directional microphone and they would be singing to one another.

The 2-tracks from which this record was pressed could not have sounded better, and there was no one more careful, more experienced and technically skilled to record these historic sessions than Nogar, says Acoustic Sounds' founder and CEO Chad Kassem.

Yet one day years later when Thorne was cleaning out his tapes closet, remarkably, he set these 2-track backup tapes aside, intending to dispose of them. Noted producer Bones Howe had worked for Nogar as a tape operator at Radio Recorders, and thanks to him the tapes were saved from a final resting place in the trash can. Bones took the tapes home with him. He'd put them safely away in a bank vault.

These 2-tracks have erase clearly written on the master log sheets. They're from a January 1957 session at which Presley produced material for two EPs and the film Loving You soundtrack. They're the only known ones surviving from the pre-stereo era.

RCA's Essential Elvis series was a vehicle for the release of Presley's alternate takes. On this double LP set, listeners hear Presley at work, refining band arrangements and working through the nuances of his vocal performance. The LP reveals the Jordanaires voices' sparkling with a natural lifelike sound that's both sonically rich and detailed.

The Jordanaires, a vocal quartet originally formed as a gospel group in 1948, gained fame largely for being Elvis' background singers, both in live appearances and recordings, from 1956 to 1972. If discovering these rare, almost lost recorded treasures weren't enough, the sound reproduction puts this release over the top! When the Jordanaires sing Peace in the Valley, you'll swear you're hearing a melody sent from heaven. An audiophile's prayer come true!

There are a number of first and second takes, during which Presley and his backing musicians make tentative passes at the material. As the record progresses, arrangements take shape and Presley, growing more confident that a keeper take is imminent, sings with more enthusiasm. Throughout, Presley is heard directing the proceedings and demonstrating a lot of aw shucks charm in the process, goofing with band members and laughing through his and others', flubs.

Like other reissues pressed by QRP, this magnificent 200-gram LP is notable for its absolutely silent background. The vocal harmonies are tingle-inducing, life-sized and utterly natural.

For serious Elvis fans and anyone else interested in the creative process, Volume 2 meets the first definition of essential as well as the second: it's indispensable stuff.

This title is not eligible for discount.

1. I Beg Of You (Take 1)2. Is It So Strange (Take 1)3. Have I Told You Lately That I Love (Take 2)4. It Is No Secret (What God Can Do) (Takes 1,2,3)5. Blueberry Hill (Take 2)6. Mean Woman Blues (Take 14)7. There'll Be Peace In The Valley (Takes 2,3)8. Have I Told You Lately I Love You (Take 6)9. Blueberry Hill (Take 7)10. That's When Your Heartaches Begin (Takes 4,5,6)11. Is It So Strange (Takes 7,11)12. I Beg Of You (Takes 6,8)13. There'll Be Peace In The Valley (Take 7)14. Have I Told You Lately That I Love You (Takes 12,13)15. I Beg Of You (Take 12)

A Stereo Spectacular - Saint Saens: Symphony No.3

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound

Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!

This performance of the Saint-Saëns Symphony No. 3 (Organ Symphony) is a favorite Living Stereo release. To say that it is incredible might be an understatement. The original 3-track session tapes were used in mastering for the LPs and SACDS in this Analogue Productions reissue series. The record reveals all of the glory of the recording and the precision and passion of Munch and the Boston Symphony Orchestra in Boston's Symphony Hall. It doesn't get any better than this.

Live In Europe

Nobody burrowed more deeply into a song than Otis Redding -the most emotive, soulful singer the '60s ever produced. With the Stax/Volt horn section wailing in his wake, Redding's grainy voice and impassioned, sweat-soaked delivery kept him straddling both pop and soul charts until his untimely death in 1967. Here is an 180-gram vinyl exact reproduction of 1967's Live In Europe in knockout stereo. Fa-Fa-Fa-Fa-Fa-Fabulous!

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